Literature Review(Draft 1)

Literature Review:

Glove puppetry was introduced to Taiwan more than 200 years ago. According to a book "Taiwanese Traditional Hand Puppet Performance," Jenqjy (1991, p. 186) finds that the puppetry was spread to Taiwan by immigrants from Chuanchow (泉州) and Changchou (漳州). At first - during the middle of 19th to the end of 20th century, glove puppetry followed the original style of performance from mainland China (Yuhluh and Yeaching, 1995, p. 20). Then the puppeteers passed on this art to Taiwanese apprentices; thus, glove puppetry was accepted and assimilated in Taiwan. Next, it was improved during the end of 20th to the beginning of 21st century. There were many changes in puppet's presentation. The music transferred into Bei guan(北管), for initial music - Nan guan(南管) - is boring, slow tempo, and with accent. The Bei guan was active and adopted by Taiwanese; therefore, glove puppetry was going to mature (1995, p. 21-26). Then Taiwan was governed by Japanese government since the WWII (Duanjenn, 1998, p. 260). Duanjenn (ibid) remarks that Japanese launched Kominka (皇民化) Movement in 1937-1945. Thus, many things were forced to reform, including puppetry in this period. Chunlan (N.D., p. 4) states that "Taiwanese were forced to adopt Japanese names and participate in Japanese religions, and Japanese arts replaced Taiwanese arts gradually". After WWII, 228 Incident broke out in 1947. Puppetry was prohibited by Taiwanese government (N.D., p. 7). After assimilation, improvement, mature, restraint, and reformation, puppetry was in its heyday in 1970s. Suemei (1997) mentions that the main function of traditional puppet performance is to appreciate and entertain the Gods. It also serves local folk entertainment for all the people. In generally, the audience consists of all ages. In this period, people's religions affected puppetry a lot in Taiwan. Gradually, the place where perform the glove puppetry was changed from outdoor to indoor (Gwojenq, 1999, p. 176). In addition, puppeteers start to create new style for puppetry. For example, they improve the music, scene, and puppets' costumes to make it animated and various. According to an online article "Glove Puppetry," GIO (2004) contends that "Taiwanese glove puppetry is a drama that is deeply embedded in Taiwanese folk society." Nowadays, traditional glove puppetry combines with "golden lights" and joins the purpose of commercial. The puppetry starts to perform on TV and movies, for it attracts many viewers (GIO, 2004). Moreover, the Cultural Heritage Preservation Law was passed in 1982 in order to remind that the government has to preserve and promote folk arts (GIO, 2001). However, it is not enough for glove puppetry to keep going in Taiwan. Chyonghuey (2003, p. 64-67) suggests that Taiwanese puppetry can be continued by some improvement; for instance, puppeteers have to create something new and communicate with the audience. Moreover, government should do specific help to puppetry in order to give it a proper condition to exist. Additionally, Hwanyueh (1990, p. 120) claims that people should view the Taiwanese puppetry with objective attitude. We have to respect any changes and improvement, for they are all concerned with this cultural art (1990, p. 125). Nevertheless, it is not sufficient for hand-puppet to survive in this circumstance. It must depend on many efforts. Therefore, I am going to research into what kind of environment that Taiwanese glove puppetry will need to continue for the next ten years.